A comprehensive look into the fascinating life and enduring legacy of Juan Muñoz and his enigmatic installations “Walking between these figures feels like an interruption; being a spectator is itself a performance. They seem to know more than we do, about the status of being an artwork and the place of the viewer. The joke, if there is one, is on us.” —The Guardian Muñoz’s revolutionary oeuvre evokes emotional narratives through sculpture, installation, drawing, writing, and sound. Situating viewers between his work and among one another, he creates an intimacy between art and its audience. Muñoz thought deeply about art history and, in particular, the tradition of Spanish painting. Before his untimely death at the age of forty-eight, he produced an extensive, powerfully evocative body of work that uniquely explores the narrative and philosophical possibilities of art. Published on the occasion of the exhibition at David Zwirner, New York, in 2022, this catalogue provides an expansive overview of Muñoz’s career from the 1980s onward. In an accompanying text, the art historian and curator Guillaume Kientz contextualizes Muñoz’s influences within the art-historical canon. The acclaimed writer Siri Hustvedt contributes a thoughtful response to the artist’s iconic Conversation Piece. In an imagined interview between Muñoz and himself, Maurizio Cattelan further propels the artist’s momentum and potential in the time before his death. Also featured is a never-before-published interview between Muñoz and the art historian Michael Brenson that took place in 2000.
A comprehensive look into the fascinating life and enduring legacy of Juan Muñoz and his enigmatic installations “Walking between these figures feels like an interruption; being a spectator is itself a performance. They seem to know more than we do, about the status of being an artwork and the place of the viewer. The joke, if there is one, is on us.” —The Guardian Muñoz’s revolutionary oeuvre evokes emotional narratives through sculpture, installation, drawing, writing, and sound. Situating viewers between his work and among one another, he creates an intimacy between art and its audience. Muñoz thought deeply about art history and, in particular, the tradition of Spanish painting. Before his untimely death at the age of forty-eight, he produced an extensive, powerfully evocative body of work that uniquely explores the narrative and philosophical possibilities of art. Published on the occasion of the exhibition at David Zwirner, New York, in 2022, this catalogue provides an expansive overview of Muñoz’s career from the 1980s onward. In an accompanying text, the art historian and curator Guillaume Kientz contextualizes Muñoz’s influences within the art-historical canon. The acclaimed writer Siri Hustvedt contributes a thoughtful response to the artist’s iconic Conversation Piece. In an imagined interview between Muñoz and himself, Maurizio Cattelan further propels the artist’s momentum and potential in the time before his death. Also featured is a never-before-published interview between Muñoz and the art historian Michael Brenson that took place in 2000.
A visually stunning examination of El Greco’s work that considers the artist’s constant reinvention and professional drive Renowned for a singular artistic vision, Domenikos Theotokopoulos, known as El Greco (1541–1614), developed his distinctive painting style as he assiduously pursued professional success. This fresh and engaging survey of El Greco’s work explores varied aspects of the artist’s career—his aesthetic education in Italy, the mixed reception of his mature works in Spain, his uncompromising approach to business, and the baroque logistics of his Toledo workshop—and reveals the depth of El Greco’s astounding ambition. The impressive volume focuses in particular on his 1577–79 altarpiece paintings for the Church of Santo Domingo el Antiguo in Toledo—among them the magnificent Assumption of the Virgin—which heralded the artist’s arrival in Spain after productive periods of formation and re-formation in Crete, Venice, and Rome. Lavishly illustrated and clothbound with gilded edges, this publication features reproductions and scholarly discussions of more than 60 works ranging from large-scale canvases to intimate panels, with essays that elucidate the motives and meanings behind the artist’s constantly changing and inventive approach.
Bien sûr que je voulais faire du cinéma. Je n’entendais pas rester stagiaire. J’avais un plan. J’allais inopinément apparaître dans la nudité de mon être exceptionnel. J’allais me faire repérer. Ainsi, quand la cinéaste arriverait, je me lèverais, elle tournerait la tête vers moi, marquerait un temps d’arrêt (stupeur oblige), je ferais semblant de ne rien noter, exagérant mon naturel, elle me regarderait comme on contemple un phénomène, m’imaginerait instantanément dans son cadre et, sans plus de détour, me proposerait un rôle.
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